Because it’s the time of year Negroes act the most simpleminded, getting bent out of shape over NOTHING.
It’s sickening to watch, and sometimes makes me question my People’s sanity, to be frank.
Note the following:
When Macklemore won the Best New Artist Grammy, Negroes did nothing but complain about white boys receiving recognition for being part of a genre that “belongs” to them.
Never mind the fact the Grammy Awards themselves are OWNED and CONTROLLED by a bunch of stuffy old white dudes who ALSO control the very industry modern-day rap can’t seem to exist without: RAP ISN’T JUST A GENRE; IT’S THE NEGRO’S FIEFDOM.
So when WHITE MEN won awards created by other WHITE MEN for an industry CREATED BY and DOMINATED BY WHITE MEN, Negroes reacted in a way that suggested something about that was somehow out of order.
This year, the most controversial thing about the NAACP Awards was the surprising (?) number of nominees who WEREN’T African American. (Though I agreed with some of the observations with regard to what made that problematic, the hysteria that followed still bordered on the excessive.)
And last, but certainly not least, we come to “12 Years a Slave”, and the 300 MILLION Academy Awards the film won.
I get there were a lot of people rooting for Steve McQueen, Chitwetel Ejiofor, Lupita Nyong’o, and John Ridley, and I also get those same people were happy when McQueen, Nyong’o, and Ridley each won the “Oscar Gold”.
I’m not saying those who found that to be a cause worthy of celebration shouldn’t have felt that way, because everyone is entitled to his feelings.
But, that’s the thing: EVERYONE is ENTITLED to his feelings.
Even the ones who don’t consider Oscar-winning slave narratives anything to be proud of.
You see, I’m not in the group of people who think a Black actress winning an Oscar for playing a role most palatable to White Supremacy is a good thing.
After all, how hard is it to gain international recognition and approval for playing one of the accepted Negro Film Stereotypes:
- Slave Girl
- Thug With a Heart of Gold
- Captain Save-a-Hoe’s Hoe
- The Single, Hard to Please, Yet Desperate-for-a-Man Shrew*
- Thug Without a Conscience
- The Shiftless, Happy-Go-Lucky Negro*
- The Boring Nice Guy Punk*
- The Boring Nice Girl Punk*
(*These roles only exist to serve as “justification” for interracial relationships, where otherwise none would exist.)
What bothers me most of all about Lupita Nyong’o’s victory is the same thing that bothers me about Halle Berry’s Oscar win: The Slave Girl and Captain Save-a-Hoe’s Hoe narratives are same tune, different beat.
If you want to buy into the party line claiming “12 Years a Slave” is proof positive African Americans’ stories deserve to be told as much as anyone else’s, I would also like to encourage you to send all your money to the address located at the bottom of this page.
Do our stories deserve to be told? ABSOLUTELY.
You’ll NEVER hear me say otherwise.
But OUR NARRATIVE neither begins nor ends with slavery: Our narrative covers the whole of human history, and of civilization, as we know it.
Our narrative tells the story of Clarence “Skip” Ellis, the FIRST African American computer science PhD, and the Brother responsible for the GUI (Graphical User Interface) that helped make both Windows and Macintosh operating systems what they are, today.
Our narrative tells the story of Elbert Frank Cox, the FIRST IN THE WORLD to earn a PhD in Mathematics (from Cornell University) – ON SCHOLARSHIP.
Our narrative tells the story of Alice Allison Dunnigan, the FIRST African American female correspondent to receive White House credentials, who was also the FIRST Black female member of the U.S. Senate and U.S. House of Representatives press galleries, AND the first Black journalist to accompany a sitting U.S. President during his travels – DURING SEGREGATION.
If the Ye Olde Slave Spirituals are stories worth repeating – OVER AND OVER, AGAIN – then SURELY stories about the African Americans I just mentioned can fight their way into the public consciousness, just once?
Which is exactly the reason I take issue with the OVERABUNDANCE of Slave Celluloid.
And I should be able to say that without worrying about those who would incorrectly and immaturely accuse me of raining on the Negro Victory Parade.
In a recent piece written for Urban Cusp, author Stephanie Guerilus says: “Racism is all too real. Still, it isn’t always ‘the man’ that’s knocking us down,” implying that anyone (Black women, specifically) who either isn’t happy with Lupita Nyong’o’s Best Supporting Actress win because they’re less-than-pleased with the role she played to get it, or dares to point out the reality Oscar wins don’t always deliver on the career advancement promised – at least not for Black actresses, anyway – is only suffering from Haterade poisoning, and needs to take about five seats.
Who gives a damn that the message the film’s wins communicate to the international community isn’t one that advances an empowerment agenda? It’s MORE important African Americans “won big” at the 2014 Oscars.
Paying attention to the details and circumstances surrounding that big win is nothing more than petty nitpicking.
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